In Fort Greene, a bite of Madeleine with Jeffrey Eugenides:
It was to be his second reading in support of his new novel in New York in two nights, but the night before was at the Union Square Barnes and Noble, which is like the Madison Square Garden of reading spots; this promised to be special, like seeing someone performing an intimate smoky cabaret instead.
Bio: Alex Seedman is a writer from Chicago. He lives in Manhattan and studies at New York University.
It was to be his second reading in support of his new novel in New York in two nights, but the night before was at the Union Square Barnes and Noble, which is like the Madison Square Garden of reading spots; this promised to be special, like seeing someone performing an intimate smoky cabaret instead.
The sea of horn-rimmed glasses that formed in the stacks awaiting Eugenides' arrival got denser and churned into new territory of the store: No room in front of Aristotle or Beattie or Celine or even Zola, they were now being pushed into the aisles of the children's section. More
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on October 13th, 2011 8:00am“People’s attention spans have shrunk,” Iconis said. “So now, for most musicals, it’s about getting to the next number. So book-writing has become all about that. Just getting to the next big song. But bad musicals are always, 100 percent of the time, a bad book issue." More
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on October 3rd, 2011 2:58pmSt. Mark’s Bookshop was packed last night at around 6:30 p.m. with people awaiting their hero—or, a guy they hoped would become their hero in a very specific local matter—Michael Moore.
Moore has a book to promote (he told the crowd at the bookstore last night that he had no interest in doing signings at big chain stores), and St. Mark's Bookshop is itself in trouble, and has asked its landlord, Cooper Union, the private engineering, architecture and art college, to reduce its $20,000 monthly rent (with backup from a local petition and a community board resolution). More
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on September 30th, 2011 9:47amThe brilliance is really in the curation. Eleey largely avoids work that seeks to address the tragedy directly, paradoxically making the work he presents address the event more powerfully, and more personally. We would stop short if we saw a work that we could not ourselves connect to the events of Sept. 11—if, say, suddenly Edward Hopper's Nighthawks made an appearance. But what could wall-text add to the inevitable association, in the context of an exhibit titled "September 11," of George Segal's 1998 sculpture Woman on a Park Bench, bronze but with a white patina that evokes the images of ash-covered evacuees making their way from the smoking debris of Lower Manhattan that day? More
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on September 10th, 2011 12:49pm
